Symphony No. 29 (Haydn)
The symphony Hoboken directory I: 29 in E- flat major Joseph Haydn composed in 1765 during his tenure as Vice - Kapellmeister to Prince Nikolaus Esterházy.
General
The Symphonies Nos. 12, 29 and # 44 are the only ones in the complete works of Franz Joseph Haydn in the unusual for that time symphony key of E, the first two in the major, the last in a minor key. The two E major symphonies have some similarities of character, especially in the sanglich - lyrical design of the first movement. The Symphony No. 29 is in four movements, however, and has a particularly weighty for that time finals.
Also composed in 1765 Haydn Symphonies No. 28, No. 30 and No. 31
About the Music
Instrumentation: two oboes, two horns, two violins, viola, cello, double bass. (If available in the orchestra ) were to reinforce the bass voice then also without separate listing bassoon and harpsichord used, insist on the participation of the harpsichord in the literature different opinions.
Performance time: approximately 15 to 20 minutes (depending on adherence to the prescribed repetitions).
When used herein the terms of sonata form is taken into account that this model was designed only at the beginning of the 19th century (see below) and can be used for a symphony from 1765 with some restrictions. - Note that this description and structure of sentences is to be understood as a suggestion. Depending on your view, other accruals and interpretations are possible.
First movement: Allegro di molto
E Major, 3/4-time, 140 cycles
Haydn had the sentence originally entitled " Allegro ma non troppo ", then changed to " Allegro molto piu tosto " and finally to " Allegro di molto ".
The set opens with the first theme ( main theme ), which is built periodically from each four bars antecedent and consequent. Unusually for the beginning of a symphony that time, it has a restrained - predominant character. This is due to the uniform district movement with bows and very singable melody. Also noteworthy is the extent of the antecedent, in the play only Strings from Invervall a ninth. In reply postscript the two oboes in thirds with minor accompanied by viola, cello and double bass. The theme is repeated with modified, six-bar trailer. From bar 18 begins a new chapter in the forte and with full orchestra use. It is characterized by a subject with a large interval jump ( None / tenth ) up / down with accented beat in the second quarter of the clock ( syncope ), whereby the previously dominant rocking motion is loosened slightly. It is close from bar 39 ff Triolenläufe in the violins, before the final section with a characteristic triplet motif from bar 46 heralds the end of exposure.
The implementation (measure 51-99 ) begins with piano the main theme in the dominant B major, then the uniform, vast district motion is carried forth and eventually replaced by triplet figures in the Forte. The movement calms down, and after a quarter rest in measure 100 begins the recapitulation. This is similar to the exposure structured, but the main theme, for example, does not repeat, but moved on without spin -like arrangement, and the Triolenabschnitt just before the end is enriched by sequencing. Development and recapitulation are repeated as the exposure.
Howard Chandler Robbins Landon means the rate as a typical example of a "singing allegro. "
Second movement: Andante
A major, 2/4-cycle, 96 bars, strings only
The melody of the periodically structured first " theme " (or: main theme ) is composed of small motif phrases that will be played in the piano displaced 1 to 2 violin. After eight bars of the theme is repeated, but now with reversed roles of the two violins. Between the first presentation of the topic and the repetition after repetition and play viola, cello and double bass rapid unison figure in Forte.
The second "theme" (measure 18-28 ) is very similar in structure to the previous one, one could also view the same as a continuation. But it is remarkable that both violins in postscript together in the third interval - no longer turns - play. From bar 29 to the end of exposure in 39 clock syncope dominate border basses.
In the implementation part of the dialogue between the violins will continue initially, turns away from clock 47 to the minor and get a little more consistent effect, since both violins are now working against each other. From cycle 54 to the recapitulation Syncope is again prevalent in clock 64. The recapitulation begins with the first theme in the usual dialogic structure. It follows from bar 79 of Synkopenabschnitt. Before the actual final group, consisting of the unison figure of the exposure, has the main theme still a cameo appearance (bars 91-93 ). Development and recapitulation are repeated as the exposure.
Christa Landon (1962 ) speaks of a " transparent structure " and a " to a whole closing witty dialogue between the violins ." On the other hand criticized Johann Adam Hiller (1770 ): "(...) in the Andante but the composer has the melody divided on a ridiculous way below the first violin and other (...). "
Third set: Menuet - Allegretto
E Major, 3/4-time, with Trio 66 cycles
Powerful- energetic is the main part of the minuet with descending melody line and echo in the piano. These contrasts the Trio in E minor for strings and horn, " the atmosphere of eastern folk music " breathes: it is consistently in the piano held with solemn and gloomy sound carpet of organ point-like set horns, while only bring the strings in staccato touch of color in the atmosphere. Maybe the trio is inspired by Slavic folk music ( as in the trios composed of the same year Symphonies No. 28 and No. 30). Antony Hodgson takes into account the possibility that the harpsichord players have to improvise a melody.
Fourth sentence: Presto
E Major, 4/4-time ( Alla breve ), 185 cycles
Almost the entire set through play viola, cello and double bass clock - to sections, the same tone, which causes a throbbing, forward - drifting energetic effect. Walter Lessing speaks at the Presto from the " climax of the work ," Christa Landon by a " great, stormy " finale, and Howard Chandler Robbins Landon also points out the contrast to the character of the previous sentences.
The set begins with the first theme ( main theme ) in a powerful motion: the antecedent with ascending intervals in half notes, sung in unison Forte, enriched with the consequent countermovement. The following, rather long section up to bar 47 is characterized by the throbbing district movement and from bar 34 through a sequenced scale down. An additional dynamic component comes about by owning the violins, in which the viola begins with stressed quarter notes. After a tremolo (bar 48-51 ), the movement of clock 53-65 soothes with arc-like half notes (similar to the beginning of a sentence ) and chromaticism before the final section with its running motif upwards over an octave the end of exposure in clock 81 heralds.
The implementation ( clock 82-110 ) begins piano as Fort spin drying of the main theme, backed by the throbbing district movement. Then viola, cello and bass take up the topic on the Forte, superimposed VoEM tremolo of the violins and chords of the wind instruments ( clock 95-110 ). The recapitulation (bars 111 ff ) is similar to the exposure structured, but has an additional section with the barrel motif over one octave upward on ( clock 123-137 ). Development and recapitulation are repeated as the exposure.
References, notes
Web links, notes
- Sound and score of 29 Haydn Symphony by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
- Thread the Symphony No. 29 by Joseph Haydn
- Wolfgang Marggraf: The Symphonies of Joseph Haydn. - Haydn's early symphonic work at the court of Eisenstadt ( 1761-1766 ). The symphonies of the Italian and the normal type retrieval April 22, 2012 (as the text: 2009)
- Joseph Haydn: Symphony No.. 29 E major. Ernst Eulenburg Ltd.. No. 562, London undated, 22 pp. ( pocket score, foreword by 1962).
- Joseph Haydn: Symphony no. 29 E major. Philharmonia Volume No. 729, Vienna without year. Series: HC Robbins Landon (ed.): Critical Edition of the Complete Symphonies by Joseph Haydn. ( Pocket score )
- Symphony No. 29 by Joseph Haydn: notes and audio files in the International Music Score Library Project.